Collisions

New high bar set here with Jeremy Bible's physical issues of his once digital-only Collisions album; both the cassette version (which I have on hand), and the CD version of this release are top-notch. Look at that! Mirror-metallic print on a glossy box with bellyband? Shit, seriously good. Sonically, Bible's never sounded more in control, precise, and sharp than on this one. A friend of mine likened it to birds, and the frantic, fast-paced and high-pitched nature of that animal fits this record's trajectory quite well. You can also just hear what sound like genuine field recordings of them throughout the length of the recording - the flapping of wings, their worm-wanting chirps, etc., all of it pieced together with synths and tape samples, and whatever all else you won't be able to place in your imagination. Instead of approaching a noise-collagist's oft-used technique of mashing textures together, smearing things into a pasty pastiche of blended - Tiny Mix Tapes tinymixtapes.com

Collisions is a bit of a mindfuck. That being said, the incredible array of sounds that Jeremy Bible (all hail experimedia!) juggles is impressive and he does so gracefully, leaving just enough room for these compositions to stretch their legs and find their footing. “Collisions is a conceptual binaural work originally created for a live 4 channel quad surround performance”, we’re told, and this much is apparent when heard digitally. The pristine details shine through and overwhelm. However, on tape Collisions finds another life entirely – analog media is an interesting (and excellent) choice for this music. Lines blur and sounds fade into oblivion so that the listener is completely lost in the aural walls Bible creates. This is dense, hard-to-digest music but through patience we are all rewarded. - Brad Rose - Fact Mag factmag.com

Whether you realize it or not, you’re probably already familiar with Jeremy Bible. Well, assuming you’ve taken more than a cursory glance at Decoder’s past posts. The Ohio-based multi-media artist has had more than a hand in shaping experimental music (as an aural tastemaker with the Experimedia imprint, whose execution hits the precipice of high concept and design/packaging, with discography standouts that include career highlights from Lawrence English, Damian Valles, Celer, Black Swan, and Jannick Schou) and sharing music (as a purveyor of experimental sonic wares with the Experimedia web distro/shop). But Bible has also directly produced some of the most ambitious works under his own name that’s both richly mesmerizing and expansively isolating. Bible returned a few weeks ago with Collisions, a confounding work of modern musique concrete that completely blurs the lines between organic and unprocessed sound and effect-addled noise. Originally prepared as a quadraphonic performance at Rubber City Noise in Akron last June (audio available here), the set has since been re-edited and presented here as a stereophonic din of dynamic but coherent, puzzling but lucid miasma. Field recordings of birds appear in true form only to be transformed and mutilated into otherwordly passages of digital squeals and hums. It’s a hypnotic scourge of aural anthropology. All of this delivered in a sleek black box flourished with reflective tiling, a translucent band and cotton insert, as expected with the False label aesthetic. Collisions is available now in tape or CD form directly from Experimedia. - Decoder Magazine secretdecoder.net

You might know Jeremy Bible as the proprietor of your favorite independent distributor/zone emporium Experimedia, but the Cleveland-based inter-disciplinary artist wears a tower of hats in addition to the black-brimmed postman cap symbolizing the prompt shipping of physical media. Over the last few years, he has experimented with video synthesis, constructed quadraphonic live setups, and exploring the infinite potential of electronic concrete collage. Though infrequent limited-run releases have trickled out of his Experimedia label imprint over the last decade, his new album Collisions-- streaming in full below-- showcases the most fully realized incarnation of his solo project to date. The album's two extended pieces speed through a litany of textures and atmospheres, juxtaposing squalls of hi-fi synth noise with naturalistic field recordings and passages of otherworldly drone. Bible's surprising aural journey coheres across its diverse palette of sounds by way of its uniformly lush production standard and its attention to detail in tone spatialization. The album channels the structural chaos and alien laptop squelch of Florian Hecker, and the unpredictable live synthesis of Headboggle, as it stakes out its own unheard territory in the wide expanse of the experimental underground. - Ad Hoc adhoc.fm

Right, get your best headphones, turn off the lights, stick this on and allow your brain to be massaged by all manor of noises by Experimedia boss guy Jeremy Bible. Recommended if you're into glitchy electronics, old 12k, Raster-Noton, Ryoji Ikeda and the like. - Darkfloor reposesound.com/darkfloor

Collisions is a caged tiger. Or maybe a better analogy would be a caged bird. A caged eagle. A bald eagle, all stately and regal with a marrow-crunching beak and with wings un-spread, twitching and pining for a Douglas Fir or the punctured spine of a salmon. Collisions, likewise, was never meant to be in a cage. Originally conceived as a live four channel quad surround performance, a recording like this needs a sense of place. It needs to remain in its own habitat and being situated with four speakers all pointing directly at you at an art space in Akron, OH sounds about right. This recording, lovingly made available as a 24-bit download, has captured the jarring snaps from tranquility to chaos, low-celestial tones to sine wave bleed-outs in all of its textured, 3-D glory. Collisions is made up of field recordings of birds that are either processed into sharp fragments of sound or blips and glitches of digital media processed to sound like birds. Terror-pigeons to be more exact, the sort of bald eagle you might see staring you down from the back of a pick-up trick in any town North, South East or West of Denver. Like a bird, Collisions' moves can seem about as random as our feathered friends'. Stereo panning flits and flies from sustained tones to harsh digital noise, following some kind of avian logic impregnable to human minds. Collisions picks at some shiny, drawn out tone before immediately jerking to some new interest or potential threat, departing with the terrifying scrape of feather covered bone against the glass pane of a window. Sounds flock and swarm until they are so overwhelming that even the silences are pregnant with a sense of dead-eyed, Hitchockean dread. This is completely engrossing and a bit terrifying. Sound-art tone-poems just like this one are the reason Experimedia exists. - Tome To The Weather Machine tometotheweathermachine.com

Jeremy Bible is a media artist from Ohio, working across sound, photography, video, and graphic design. He collaborates frequently with fellow ohioan Jason Henry, and also founded the record label and arts organisation experimedia in 2000. His new album - Fluid Radio fluid-radio.co.uk

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